Posted by Adam on December 27th, 2016
At last year’s Visualeyez festival, the students of University of Alberta professor Natalie Loveless’s Fall 2016 seminar course “Ephemerality and Sustainability in Contemporary Art” (ArtH 456/556) responded to performances at the festival.
Catherine Dong sets up her piece, To Begin, by presenting us with a very stark, white room, with three curious sets of objects inside of it. The first, a large rectangle formed from dozens of eggs; the second, a very large, orderly, stack of books in the middle of the rectangle; the third, a small white clock.
Dong enters the room, gracefully steps over the egg barrier and into the rectangle. She quickly glances at the clock and, bending over, reaches for the stack of books. Her fingertips fumble briefly with the edge of the bottom book, she tilts the stack backwards, and they slide into the curvature of her body. Then with a technique reminiscent of a practiced weightlifter, Dong hoists the books up, neatly fitting them under her chin. The books adjust again to her figure, which captures the obvious weight of the stack; she could not manage even one more book. Dong is at her full capacity.
As she holds the stack, Dong’s initial passivity fades and is replaced by increasingly ragged breaths, the tantalizingly slow ticking of the clock, and an entire audience holding their breath. This first action lasts close to ten minutes, with every second passing by at a snail’s pace. Then, finally, with an ear-splitting crash, Dong’s muscles give out and the books fall to the floor. The stack falls wonderfully, splaying out all over the rectangle in every direction, displacing eggs, even breaking some—the yolks spilling out, bright yellow contrasting beautifully with the bare concrete floors.
Posted by Adam on September 6th, 2016
Latitude 53 is pleased to announce the festival line-up for Visualeyez 2016: Kindness, with: Christine Brault (QC), Chun Hua Catherine Dong (QC), Linda Rae Dornan (NB), Alexandria Inkster (AB), and Johannes Zits (ON).
This year’s Visualeyez festival, taking place in and around Latitude 53 in downtown Edmonton, September 19–24, brings together five artists to explore the theme “Kindness”. Curated by Todd Janes, this year’s festival emphasizes personal exchanges of care and self-care, and the material traces these leave behind. The festival’s week-long scope includes a space for collaborative development by the artists, followed by three celebratory days of public performance over the weekend of September 22–24.
This year’s performances include both staged, public actions, and one-on-one gestures, as well as longer process works that develop over the festival, becoming visible during the final weekend.
Within kindness is the belief in generosity and reciprocity, where artists will extend out offers, seeking little personal benefit except the willingness to exchange moments. Both Alexandria Inkster and Christine Brault will perform publicly, meeting passersby in fleeting intimate moments. Inkster folds paper into a gift as long as eye contact with another is maintained while Brault washes participants hands and uses the water to write their name manifesting the rituals of care. Linda Rae Dornan will also work throughout the week re-animating found objects during regular walks with participants, bringing value and narratives to disregarded objects—creating a kind of installation, echoed in that constructed by Johannes Zits in the gallery for his durational performance.
As always, Visualeyez provides multiple points of entry for audiences, welcoming members of Latitude 53’s community to discuss the artists work over the festival, participate in one-on-one performances, and watch staged performances together. Visualeyez also includes an important online component, as the Festival Animator records the events in writing and uses the blog platform at visualeyez.org to expose the festival to audiences who cannot view it firsthand—and deepen the experience for those who can.
Posted by Cindy on October 4th, 2010
So last weekend I was sitting – hiding – in Sydney’s office at Latitude 53 while a wedding took place out on the balcony. It kind of felt like the performance festival was still going on, not because of some sort of cynical attitude on my part towards the spectacle of marriage, but because there was a nice big audience for the relatively intimate event, and half the people had cameras, and because they all clapped when it was over. I mean, and because it happened at Latitude 53 (duh). It got me thinking about performance art, as I had been for 2 straight weeks without a break. I mean, I’m a believer in the idea that it’s art because the artist says it’s so. But what makes it performance?
Visualeyez is great for presenting a breadth of performance practices and for testing the limits of what is considered performance. More even than the varieties of food-related performance this year were the varieties of ways in which the works were performed by someone – or something – other than the artists themselves.
Adina Bier performed – but passively – and asked the audience to be the active performers in her work On Boulevard de Clichy.
Culinary Cultures in the Kinder/Garden enlisted bacteria and other life forms that were as much the performers as Alison Reiko Loader and Kelly Andres.
Hourglass begged to be performed even in the absence of the artist Chun Hua Catherine Dong.
In Show Me Your Edmonton, Robin Lambert and Brette Gabel invited the intimate audience to be equal collaborators in creating the art.
caribou X crossing‘s Beau Coleman, Melissa Thingelstad and Matthew Skopyk had the audience of Miles of Aisles perform the work, though it was the grocery store itself that was on display. During the group tour, the audience had the great fortune of experiencing both the story playing on their iPods and the spectacle of the throng of other participants misbehaving in the grocery store.
Just about all the work was participatory, inviting viewers to share and contribute to the work.
Food Wars in particular invited viewers to share not just in the experience but in a meal prepared by the artists Naufús Ramirez Figueroa and Manolo Lugo.
In Ask Me About Salt, the very title encourages spectators to engage with the artist Randy Lee Cutler.
Comfort Room, the one performance where the audience was clearly the spectator and the artists Jennifer Mesch and Scott Smallwood the performers on stage, was a foil for the other projects, reminding us of the value and beauty of performance made to be watched and experienced.
Not only did I get to see all the performances and get to know all the artists, but I was also privileged to be at the gallery every day watching all the behind-the-scenes action, and I saw all the hard work that went into making Visualeyez a reality.
Before I leave the blog and go back to my life in Saskatoon, I just want to extend a wholehearted thanks to Todd Janes and the whole Visualeyez team, including all the staff and volunteers at Latitude 53. There’s no way I’ll be able to remember everyone’s names, but I’ll do my best. Thanks to Robert Harpin, Alaine Mackenzie, Vicky Wong, Sydney Lancaster, Russell whose last name I never caught but who did all the heavy lifting no one else dared to, Jamie Hamaguchi, Heather Challoner and Jacqueline Ohm all the other volunteers and all the board members who attended and volunteered at the events and everyone else behind the scenes that I never got to meet but who helped make the festival so amazing! (I’m talking to you, Sally Poulsen!)
And special thanks to all the artists! I’m really grateful to have had the chance to meet you and get to know you, and I feel like I made some really close friends. Those artists who I already knew I had the chance to get to know better, and I’m coming away from the festival enriched as an artist and a writer and a person.
Posted by Cindy on October 1st, 2010
Every day of the festival when I arrived at the gallery, after plugging my computer in and dropping everything off at my couch-station in the reception area, the first thing I would do is check in on the performances in the gallery spaces. First I would look into the black rice bowl of Chun Hua Catherine Dong’s Hourglass performance to see how much work had been done since I was last there.
For the first few days, I was quite distraught at how slowly the work was going; it always looked like a few dozen grains had been completed but no more. Finally by the last couple of days of work, I could see that the grains of rice had started to pile on top of one another – she was far from covering the bottom of the bowl, but the bowl was also far from empty. The work pretty much went, in this way for the first few days, exactly as expected: a futile task earnestly undertaken, seeming never to get anywhere even as the artist spent whole days working.
As the week wore on, Chun Hua Catherine seemed to be in the gallery less and less, though I know that she was always working the appointed hours; the reason she seemed to be working less is that random people were working more and more – somehow this work had compelled people to come and paint even when the artist was not there – even when the gallery was closed. Catherine and I had a brief conversation about this. She told me that in her mind, the most successful performance is one where there is no performer at all. She was pleased and surprised at how this performance played out, that people were compelled to assist – to perform the work – even in her absence. I agree with her, and I think this project will give her a lot to think about in her broader practice, in ways that she may not have expected.
The second thing I did every day was to spend time in the Culinary Cultures in the Kinder/Garden space, to see what was new and what sort of experiments would be going on that day. Alison Reiko Loader (and, when she arrived a couple days later, Kelly Andres) worked all day every day in the space, and quite the opposite to Chun Hua’s performance which seemed never to progress, their space was constantly evolving, changing, and – ahem – growing.
Posted by Cindy on September 22nd, 2010
Last night, the remaining artists at the festival went out one last time with staff and volunteers, to Dadeo cajun/creole restaurant on Whyte Avenue.
In attendance were Beau Coleman, Alison Reiko-Loader, Vicki Wong, Robin Lambert, Brette Gamel, Chun Hua Catherine Dong, Heather Challoner, Catherine Kuzik, Todd Janes, Jamie Hamaguchi and me! (You can see that though everyone is still having a lot of fun, some people are getting awfully exhausted by this point in the festival!)
Alison had been talking about trying to find a good Alberta beef steak while she was in town, but this was her last night. Someone suggested she go for steak and eggs this morning and a great conversation ensued about the best place to find steak and eggs in the not-too-late morning on a weekday in Edmonton. I enlisted the help of festival breakfasters Robin and Brette, who recommended Alison try Tasty Tom’s. After weighing her options (including the sleeping-in or getting up super early to do breakfast before her flight home), Alison decided to have just a light snack at Dadeo and go out for a steak dinner later in the evening. I offered to go with her.
Alison, Jamie and I walked around on Whyte Avenue for a few hours after Dadeo, shopping and browsing. Alison found a couple of antique cookbooks for souvenir gifts (oops; I hope her husband isn’t reading this before she gets home!) and we all found some really nice clothes and shoes which we couldn’t afford.
Then we went downtown to Lux, which had been recommended as a great local steakhouse. Walking in, we knew it was perfect! We made a beeline for the big old steakhouse-style booths!
We both had steak, and shared potatoes and mushrooms (and shared the amazing pecan fritters for dessert!)
We talked well into the night about art, food and our lives, and had to be kicked out when they were trying to lock up. Back at the hotel, Alison and I entertained each other with our favorite Youtube videos and funny picture websites.
Her best pick: Pinup Robert Downey Junior
My best pick: Selleck Waterfall Sandwich
It was hard to say goodbye, but now that there are no more pesky artist to distract me, I can get back to some real serious art blogging!
Posted by Cindy on September 19th, 2010
It’s been a really long day; the 10:30 am Saturday feedback session (what were they thinking?!) with Kelly Andres and Alison Reiko Loader was kind of a bust, but I had a really nice conversation with them anyway. I went to my Mom’s house and baked my bread baby, which to be perfectly honest had gone through a lot in the previous night. It had risen out of control, stuck completely to the baby sling and got “kneaded” back down in the process of scraping it out of its cloth carrier, rose again, stuck again PLUS dried out and formed a hard crust which I kneaded back into it, and never quite rose again to its former glory. You should have smelled it, though – the most powerful fermenting smell ever, that did not smell anything like bread, but like some kind of a boozy brewery. It smells like bread now, though! I didn’t want to stifle my baby’s creativity, so I decided to let he go back out into the world, where she decided she feels most comfortable on display in the gallery with the rest of Alison and Kelly’s creations. I may be brave enough to try a slice tomorrow.
Then it was time for the walking tour of caribou X crossing‘s Miles of Aisles. I had assumed that this would be a live version of the audio tour, but in fact it was simply a mass participation in the audio tour; the artists were present only to guide the participants into the store and to observe. If I had known that this is what today’s scheduled performance would be, I would not have bothered going. But then I would have missed a couple of really interesting experiences that I would not otherwise have had; that of being in the store while a couple dozen others were wandering around absurdly like me, and more importantly of experiencing the tour as one of a pair. Jennifer Mesch and I went into the tour together, she playing the tour for Anne and I the tour for Julia. Compared to going on the tour by myself yesterday, this was far more satisfying, even though, bizarrely, the two tours did not ever have Jenn and I cross paths or interact.
But more about Miles of Aisles later! In the meanwhile, if you’re planning to take in Miles of Aisles during Visualeyez (or later; I assume there’s nothing preventing you from downloading the files and taking the tour anytime in the future), my advice is to find a friend who wants to go with you; it’ll only redouble your fun, plus you’ll have someone to talk to about it afterwards!
I just got back from Alberta Arts Days at the Jubilee Auditorium, where a whole Visualeyez contingent went to check out the art action, and more specifically because Chun Hua Catherine Dong, Jennifer Mesch and Scott Smallwood were performing. The event had a look like it had been going on all day and was winding down (which I think was actually the case); there wasn’t any food on the food table that I could eat, but I was completely wiped out and starving. Thankfully there were big bags of Jubilee-branded jujubes in piles throughout the venue. I ate one, took one for later, one for Megan, and one for a souvenir. Todd got one for me too.
I had little stamina left for to take in very diverse event and spent much of my time chatting in a quiet corner with Adina Bier, Jennifer Mesch, Todd Janes and others until Jenn and Scott’s performance.
By the end of the evening, Chun Hua Catherine appeared to have successfully proposed to every white man at the event, and was looking pretty love-drunk!
Posted by Cindy on September 18th, 2010
Sitting in the reception area of Latitude 53 for a great majority of my time this week, I’ve been paying a lot of attention to the people coming in and out of the ProjEx room where Chun Hua Catherine Dong is performing her piece, Hourglass. I’ve also hovered around quite a bit while others help her paint the grains black, one by one. One thing I’ve noticed is that most people, shortly after sitting down with Dong, proclaim that they find the task of painting the rice very meditative. Some are too frustrated by the overwhelming enormity of the task to continue, while others are content to sit for long periods of time, engaging the artist in conversation about the performance, her other work, and about whatever else comes up. Of course, whenever there is an opportunity to connect with the artist and learn more about their work, especially within the context of a performance, I am a strong advocate of taking advantage of the situation!
Speaking of which, there are 2 feedback sessions on festival projects today (Saturday) – Kelly Andres and Alison Reiko Loader talking about Culinary Cultures of the Kinder/Garden at 10:30 AM at Latitude 53, and caribou x crossing talking about Miles of Aisles at 6 pm at Latitude 53. This is your opportunity to find out what inspired some of the works in the festival and have your questions answered by the artists themselves.
In the case of Dong’s work, however I am also eager to encourage you – if you have a chance to sit down with Chun Hua Catherine one-on-one over a couple of bowls of rice, please take the time to talk with her about her work!
So I was talking with the artist about the work, and about how people have engaged with it, and she was telling me that indeed, most people seem to claim that they find the process of painting the rice very meditative. I suspect that if the project did not involve grains of rice but, let’s say, tiny plastic pellets, and if Chun Hua Catherine Dong was not Asian, it would be harder to solicit participation in the performance and that those who did participate would almost universally reject the notion that it is a soothing, relaxing or meditative experience. She said that in fact, when she performed this project in Vancouver, people tended to bow to her when they got up from helping her paint grains of rice, thanking her for sharing the experience with them.
With a gleeful laugh, Chun Hua Catherine (who seems to be developing a sophisticated practice around the notion that you simply cannot judge a book by its cover) explains that this performance is the farthest possible thing from the Buddhist meditation ritual people are perceiving the work to be, a ritual which is performed without goals – the meditation is its own goal. Conversely, her project of painting rice is very goal-oriented; she has set out to complete a very labour-intensive task, and when people volunteer to participate, they are not entering into a ritual that she is leading for their mutual betterment, they are entering into unpaid labour towards an enterprise of production for a thankless and endless task. And then they thank her for the opportunity!
It occurs to me that the viewer might easily replace the stereotype of the Asian zen-master in this scenario for that of the sweatshop.
Of course this is not to negate the experience of the participants; you will recall from earlier blog posts that I also found the experience of painting rice grains compelling. Rather, I think it is important to try to recognize the quiet deployment of well-worn stereotypes during activities and interactions we engage in which are deserving of deeper reflection.
Chun Hua Catherine and I talk about some of her other work, including a project called Looking for a White Husband where she has distributed promotion proclaiming herself to be “an exotic, compliant and artistic Asian girl, looking for A WHITE HUSBAND who would like to take me to his home and live with him for a day as his mail order bride.”
This husband-seeking project, as many of her other projects, I can see, has much to do with the exercise and exertion of power. I start to think about this in the context of the work she is presenting at Visualeyez, partly relative to her interactions with the participants, but also in terms of the content of the work itself, which aims to “reconfigure the established centralized power in order to create an equal, fair and balanced world.“
My friend Suzette Chan arrived at the Visualeyez launch party, and I was introducing her to the performances and installations throughout the gallery spaces. Chun Hua Catherine Dong had not yet arrived and in fact had not performed on Thursday at all, so the performative space appeared very different from how I had been experiencing it to date – quiet, and because of the employment of precision implements (tweezers, tiny paintbrushes, tiny ink bowls) and stark white colour, quite sterile. I recounted to Suzette the story Chun Hua Catherine had told me about the bowing participants and their reading of the work as meditative. (To be fair to the participants, the artist really was only too aware of this potential reading of the work from the beginning and is quite obviously exploiting those stereotypes in this work, especially upon reading the rest of her Rice Performance Series, where reliance on Asian stereotypes is essential to the work.) I think Dong’s amusement in this case resides not in any reading or misreading of the work, which is in fact very multilayered and engages stereotypes through employing them quite literally and humorously; it lies, I think, in the reactions of participants, which have been uniform enough to carry some important revelations about the work and how it is understood. If only I could decode what revelations those might be…
So Suzette and I were looking at the performance site sans artist and I was telling her how other people were reading the work, when she told me that upon first glance at the unpeopled work, POWER is the FIRST thing she thought of. And that the bowl of painted rice, contrasted against the clean and controlled space looked, to her, very violent.
I started thinking about the work in that context, and about forced change in nature; the compulsion to control and change people, plants, culture. I first read the work quite literally as an attempt to correct the power distribution to a white/non-white parity but now I am starting to read it also as the attempt to achieve a balance of the “natural” versus the “controlled,” and to see the artist as an agent for that control, much as she is in her other performance work.
Now, I know that white rice is already a pretty heavily-controlled commodity – cultivated, cleaned and packaged. But in this project it’s being taken from something useful and nutritious and being made useless. If this work is indeed about colonialism, is it about addressing and correcting a colonial world by taking half of it back, or is it the artist who is colonizing the rice, one grain at a time?
Posted by Cindy on September 17th, 2010
Adina Bier performed her piece On Boulevard de Clichy tonight during the Rooftop Patio Launch Party for Visualeyez at Latitude 53. “Rooftop Patio Launch Party” was a bit of a misnomer; it was too cold to go outside, so the launch party was not on the rooftop patio. That doesn’t mean the evening was a disappointment, however! In fact, it meant that wherever partiers chose to hang out, they were in the midst of performance art.
Kelly Andres and Alison Reiko Loader were busy making edible culture in Culinary Cultures of the Kinder/Garden – from birthing fetal tomatoes to creating a “vinegar mother” to serving mint agar desserts in petri dishes, their space was bustling with activity and bursting with life all evening. This is one project to keep coming back to, as their work will evolve and literally grow over the course of the festival. Their performance doesn’t officially start until tomorrow (Friday), but they’ll be in the gallery from 12-5 every day for the rest of the festival.
Though she wasn’t scheduled to perform either, Chun Hua Catherine Dong couldn’t keep the participants away from the installation for her performance Hourglass. Everyone wants to help paint a few grains of rice black – just enough, it seems, to really grasp the overwhelmingly impossible nature of the task. By the time she arrived once the party was already in full swing, I’d heard from at least half a dozen people who wondered if they’d get in trouble if they started without her.
It was Adina’s project that really captivated the crowd, however.
As I mentioned in an earlier post about Chun Hua Catherine Dong’s work, I really respond to artwork that challenges the audience to take a risk, to make themselves vulnerable in a gesture of solidarity with the artist. For Adina’s project, I was prepared to simply NOT be nauseated by the bananas in the gallery, but I didn’t know if I would be able to give her any more than that.
For On Boulevard de Clichy, the artist dressed in a bodysuit made of “nude”-coloured sheer nylon, standing amongst 365 fresh bananas. With one banana (still fully encased in its peel) shoved into her brightly painted mouth and one banana in each hand, Adina Bier handed gallery visitors bananas. Signs instructed participants to peel and eat the banana, depositing the spent peel in her bodysuit when finished.
Borrowing the name for her project from the street in Paris famously home to the historic Moulin Rouge and other notorious cabarets of the period, Bier puts herself on display seemingly for the gratification of the crowd. Though Clichy was once home to artists from Van Gogh to Degas to Picasso it is best known today for its strip clubs, topless cabarets and sex shops. As the artist stands silently in the gallery I wonder briefly if she is referencing the art history of the area at all, or simply the viscerally decadent sexual subculture. Then I remember that they’re hardly inseparable, and that the art scene at the height of Boulevard de Clichy’s heyday was a very hedonistic and indulgent one.
I watch some of the first people take their banana, eat it, and stuff the peel timidly into the arm of Bier’s bodysuit. Every new person to enter the gallery is offered an outstretched arm, banana in hand. Posted signs explain how the audience is to engage with the work, but it seems to me that the artist’s eyes are much more communicative than the posters. With them she pleads with each new visitor to help her; take a banana, please. Just one banana. I can’t possibly eat these all myself.
I’m reminded of the definition of performance art that requires the engagement of ‘bodies at risk.’ The artist appears so vulnerable and so much in need, and I can see that the audience recognizes this too. Almost every person I see in the gallery has taken a banana. Every new person that arrives at the party is dragged into the gallery by someone asking “Do you like bananas? You need to help.”
It has been less than an hour since she has started her performance, and I can see Bier suppressing a gag reflex constantly now. Eyes tearing, her banana-plugged mouth silently begs me to eat a banana.
I have never eaten a banana.
But finally I am worn down, at least as much by my sense of responsibility to the art and my commitment to engaging with the work as by the artist’s manipulation. I take a banana as I tell her that I have never eaten one before. I feel as though I am sharing a special moment with her, that we are both vulnerable and at risk in this moment. (I worry that she makes everyone else feel this way too; that I am indeed not special, that everyone who takes a banana from her believes that they are the only one, or that their banana MEANS something which the other bananas do not.)
Failing to understand how to open a banana and thereby destroying my first, Adina peels a new one for me and I take it, feeling ever more vulnerable in my banana-virginity against this world-weary apparent banana whore. Watching her strangle on her own banana-gag, I start to choke down my first ever banana and feel that I somehow understand what she is going through.
Managing to eat the entire thing without retching audibly, I wonder silently – If I write in the blog that I’ve never eaten a banana, will readers think it’s somehow significant that I’m a queer woman? It’s not, really. It’s not like I haven’t sucked my fair share of cocks. (My fair share being relative, I suppose, to the fact that I’m a queer woman. So maybe it’s significant. I guess.) My distaste for bananas has nothing whatsoever to do with their phallic nature and everything to do with their – well, uh, I’m not sure. I mean, it must be the texture, mostly. As a classic case of the orally-fixated, I certainly like putting things in my mouth, so it’s not that, that’s all I’m saying.
The crowd at Latitude is loosening up now. Banana jokes are flying. People are wondering if Adina’s jaw is getting sore. Partiers are showing off in front of their friends, conversation is getting louder and ruder. Yet, I don’t feel that Adina is any more at risk than at the start of the evening. While normally, I expect that performance art plus alcohol eventually leads to someone going home in tears (and I programmed performance art year-round for eight years), this crowd which has been protective of the artist from the beginning is getting, if anything, MORE protective. Sure, the banana peels are starting to be pushed deeper and deeper into her bodysuit, but now I see people taking their second and third bananas, against their own better judgment and the pleading of their stomachs. I talk to people who are hanging out shiftily in the back corner of the gallery, or unwilling to return into the gallery at all, who uniformly explain that if they look her direction again they’ll have to take another banana, and they just can’t handle any more. I talk to a woman who the artist has literally CUT OFF from the supply of bananas, fearing (after the woman’s 7th banana) for her health and safety.
So now I’m thinking about a performance I saw in Vancouver during That 70’s Ho at the Western Front. Curator Victoria Singh invited female performance artists born in the 70’s to remake or update work of feminist performance artists from the 70’s. During an evening cabaret, Maya Suess, reinterpreting Yoko Ono’s Cut Piece, invited viewers to cut the clothing off her body with scissors provided for that purpose. It could have gone any direction, but the audience in this instance opted to treat the project like a dare. Instead of being shy or respectfully modest, or protective, each visitor took his or her turn to one-up the previous cutter. You cut off several inches? I’ll cut off a couple of feet! You cut off the portion of the dress covering her breasts? I’ll cut off the portion of her skirt covering her crotch! You cut off her panties? I cut off her shoes! You cut off her gloves? I cut off her hair! That work seemed to operate as a game, and the objective of the game was to see who could upset the artist. The challenge seemed to have been put to us thusly, and from reports I heard afterwards, we succeeded. I guess she didn’t really think people would take her up on her offer. Not really.
But it made me wonder (then as now) what does an artist do to make an audience behave appropriately in the context of their performance? What I mean is that in the performance I saw at Western Front, the project seemed out of control. In a way not intended by the artist. I’m sure that audience was feeding off of just that energy, the energy of a runaway performance. The artist herself now likely recognizes the power in that volatility and claims it as her own, though at the time, it did not go well for her at all.
Adina Bier, though, has harnessed exactly the response she needs to make On Boulevard de Clichy a success. Though there are still two-thirds of the bananas remaining, it seems quite a feat to have engineered the consumption of 125 bananas over the course of a few short hours, to wordlessly convince dozens of people to stop what they’re doing and eat a banana for art. Over the course of the evening, an entire party full of people have done their best to protect this plainly vulnerable woman from the great banana menace and yet, as the fog lifts and people start to realize what they have accomplished, there the artist stands, completely covered in banana leavings: bloated and lumpy, old and saggy, the banana bukkake princess of the world.
I still want to have a good talk with the artist once she’s had a chance to digest (so to speak) what’s happened tonight. She’s already decided that she won’t be continuing the project tomorrow; it somehow seems anticlimactic after such a concerted effort by such a large crowd. Plus, she’d have to make herself get back into that bodysuit filled with grey, mushy, cold day-old banana peels. I have doubts she could stand in one spot again for a second day in a row, but I should never underestimate the commitment of a performance artist. (I once programmed Kelly Mark, who did a piece called Smoke Break. She stood outside city hall all day, chainsmoking. As soon as she butted one cigarette out she lit up the next. From the minute they opened until the minute they closed, she smoked. I don’t remember how many packages of cigarettes she went through. Eleven? The first thing we did after the performance was head to dinner, and I listened to Kelly describe how taxing and toxic and nauseating it was to smoke that many cigarettes in a row. The very first thing Kelly did AFTER dinner? She lit up a cigarette.)
Anyway, I am curious to talk with Adina more about her work, and to see what she decides should be done with the rest of the bananas.
Chatting with her briefly after the performance tonight, Adina said that she is actively manipulating people into performing an act, which, (thinking about it symbolically), might be considered morally reprehensible. Out of all the people who interacted with her, only one couple took a banana, debated eating it, and then returned the banana to her, explaining that they “couldn’t do that to her.” Of course, they immediately understood the symbolism behind the work, which is not to say that nobody else did. It just means that they considered it seriously and applied it to their moral system before choosing not to engage. It seems to me that any of the other participants may have had a similar internal dialogue before submitting to the artist’s plea to take a banana, but acquiesced on the point that, in this setting, it is better to help an artist by engaging in their performance than to refuse to engage on moral grounds that are arguably spurious because the project in fact aims to address and challenge our relationship to those moral standards themselves.
Posted by Cindy on September 17th, 2010
For those planning to attend Alberta Arts Days at the Jubilee Auditorium this Saturday, Visualeyez projects listed in the festival schedule will differ from the projects each of the artists will be doing during the rest of the festival. Don’t avoid coming to one because you plan to attend the other – Jennifer Mesch and Scott Smallwood’s performance on Saturday at Arts Days is something completely different from The Comfort Room, which they will present at Latitude on Friday. Chun Hua Catherine Dong’s performance on Saturday will be completely different from Hourglass, the work she is presenting in the gallery over the course of the festival! Contact Latitude 53 for more information, or just come out and see it anyway, goddamnit!
Posted by Cindy on September 15th, 2010
The festival is officially underway now. Chun Hua Catherine Dong is busy painting grains of rice black in the project space at Latitude 53, gratefully accepting the help of any who offer as she tries to empty half the bowl of white rice, filling the other with black. It’s an overwhelming proposition. Staff and visitors take their turns for a few minutes at a time, sharing with Chun Hua Catherine for as long as it amuses them before getting up and moving on to more “productive” – and less daunting – tasks.
While watching her perform early this afternoon, I heard her talking with gallery visitors about her name. I thought I heard her say that she asks Chinese-speaking people to call her Catherine, and asks English-speaking people to call her Chun Hua. I thought that sounded funny (funny ha-ha AND funny strange) so when it was my turn to sit down and paint rice I asked her about it.
She told me that she meant it as kind of a joke, but that she does say that to people, mostly to challenge them. She said that most art institutions she has corresponded with in North America automatically change her name to Catherine Chun Hua Dong, even though she has made a specific decision to use Catherine as her middle name and to use her whole name. Galleries have told her, when asked, that in North America, “we” prefer to put English names first.
In my own art, in almost every project, I hope to challenge the viewer. Sometimes physically; sometimes just conceptually or philosophically. But I totally “get” asking people to put themselves out there; even just a small gesture to show that they’re on side, that they’re willing to be a bit vulnerable in solidarity with the artist. Or to demonstrate their interest in learning, their openness to the project. So I told her that I would call her Chun Hua, and I spent the rest of my rice-painting time trying to learn how to properly pronounce the “Hua” in Chun Hua.
I have to say that aside from my affinity for her politics of language and communication with which I’m already aligned, I’m drawn to Chun Hua Catherine’s performance. Personally, I really enjoy taking on tiny repetitive tasks, and where I lack the gross hand-eye coordination for things like video games, I have great fine motor skills and my favorite fidgeting activity involves rolling things into tiny tight bundles. This, compounded with my fascination for tweezers, means I’ll be spending a lot of time with Chun Hua Catherine this week!Next Page »